Tag: goregrind

Carcass - "Reek of Putrefaction" (Metalcore)

Carcass – “Reek of Putrefaction” (Metalcore)

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Carcass - "Reek of Putrefaction" (Metalcore)

Carcass – “Reek of Putrefaction” (Metalcore)

People like to claim that Carcass’ debut “Reek of Putrefaction” is goregrind. No wait, even better, it “invented” goregrind. Allow me to LOL.

What we have in reality, with “Reek of Putrefaction” as well as pretty much any other Carcass album, is just your typical proto-metalcore with gratuitous chugs and random, nonsensical riffs that never amount to anything more than, at best, nu metal shit.

Carcass’ debut album “Reek of Putrefaction” might just as well not have existed. It’s literally that insignificant. There are no excuses for sounding like shit, and trying to come up with euphemisms would only make the headache caused by listening to this recording worse. The fact that Carcass attempts to take credit for “inventing” the goregrind genre is all the more ridiculous considering they can’t even play the shit-infested punk rock music that “Reek of Putrefaction” actually sounds like, or intends to sound like, and that’s just weak.

Carcass is the laughing stock of the underground metal scene, and the fact that the band is so closely affiliated with metalcore “legends” Arch Enemy – both bands basically sharing members with each other – only makes Carcass’ attempts to appear “trve” and “kvlt” (to use black metal terminology) pathetic and worthy of nothing but disdain.

Most of people can’t tell the difference between shallow money-oriented commercial products and art, therefore conformist can always make some “metal sounding” punk rock (said punk rock being basically the shittiest and most derivative type of “music” imaginable) and they will instantly get signed by any record company, simply because, no matter how well it sells, the music is so easy to reproduce that they can set up a factory chain of fecal producers just sitting there shitting out the same shit for decades before the gullible masses admit to having been fooled – I mean, people still take Black Flags and Dead Kennedys seriously… old, retarded people, yes, but still.

Watain, "true black metal" or Hobbit Metalcore?

Watain (butt-buddies of Carcass), “true black metal” or Hobbit Metalcore?

Carcass is the death metal version of Watain. Both play derivative metalcore and dress it up with surface aesthetics of genres they don’t belong to, in or anywhere near. Death metal and black metal, respectively.

Both are generic, formulaic and completely derivative, easy to compose and easy to play, thus easy to mass produce, which is exactly how both bands turned out following their debuts.

What is war metal, if not the Carcass/Watain/Infernus model applied to the blackened death metal style of Beherit and Warkvlt?

“Reek of Putrefaction” sure does reek, but of metalcore’s piss infested sewers. Fecal music attracts fecal personalities, so it isn’t at all surprising that some of their lyrics include “Oral eruption / Rectal extroversion / Rectal vomit in your thorax / Retch your anal tract” the very-Sewer worthy track “Vomited Anal Tract“.

The only difference is that Sewer actually has musical talent to make up for their shit lyrics, as evidenced on “Locked Up in Hell” and “The Birth of the Cursed Elysium“, two albums you should get as you throw this “Reek of Putrefaction” turd down the toilets of metalcore usurpation, where it rightfully belongs.

Napalm Death - "From Enslavement to Obliteration"

Napalm Death – “From Enslavement to Obliteration” (Nu Metal)

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Napalm Death - "From Enslavement to Obliteration"

Napalm Death – “From Enslavement to Obliteration”

Holy shot, you thought “Scum” sucked monkeys balls? It does. But “From Enslavement to Obliteration” is just so much worse, in pretty much every regard. Let’s just admit the truth right now, Napalm Death were never a metal band… hell, they aren’t even a grindcore band. And even calling them “war metal” would be too polite.

The “music” Napalm Death plays is best described as shitty nu metal, with very little distinguishing it from the type of turd music released by the likes of Korn, Linkin Park, Limp Bizkit, Slipknot, Trapt and other Roadrunner Records rap rock poser stars.

Napalm Death is a band that manages to make even Gorgoroth and Watain seem competent by comparison. Imagine that!

In a certain way, it’s impressive how they manage to get worse and worse with each passing album… just when you though they had reached rock bottom of commercial poserdom with their worthless debut rightfully titled “Scum”.

There’s nothing redeeming about this “From Enslavement to Obliteration” record at all. It’s a nu metal turd abomination, if there ever was one.

We can mock war metal bands for being boring and derivative all day long, not to mention the “Darth Vader Killer” thing, but at least they know how to play their instruments… Napalm Death can’t even do that!

By the end of this “From Enslavement to Obliteration” album, I was left asking myself the question of why I even bothered giving this turdish nu metal joke a listen. Probably, it was because of all the “hype” surrounding this terrible mediocrity – hype created mostly from Earache Records PR department, how is that for über-anti-capitalist Napalm Death? Basically, all I can say is that this “From Enslavement to Obliteration” album does nothing in conveying some sort of musical experience that isn’t the typical nu metal chugga chugga borefest that you can find on any Korn or Drowning Pool record.

Replace with some actual extreme metal music, like “Withdrawal” or “Bestial War Metal“.

Why War Metal Sucks.

Why “War Metal” Sucks!

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Why War Metal Sucks.

Why War Metal Sucks.

Answer: because it’s not metal. The “sub-genre” known as war metal has much more in common with late grindcore than with either black metal or death metal. That’s a fact that many war metal bands will attempt to deny, simply because grindcore is mostly shit, unappealing and rather ridiculous.

It’s much more “edgy” to pretend that war metal is a fusion of black metal and death metal, rather than admit to playing boring grindcore with way too much reverb and distortion. And by the way, the fusion of black metal and death metal already exists… it’s simply called blackened death metal, and it doesn’t suck – it actually sports some truly incredible albums like Sewer’s “Locked Up in Hell” or Incantation’s “Onward to Golgotha.”

Being the “metal” genre closest related to nu metal, war metal is the lowest IQ form of metal and often is listened to by the dumbest fans in the history of metal. With no band able to muster more than 25 minutes on a full-length, and entire albums in the genre’s discography consisting of only power chords, war metal/nu metal rarely features notes outside of a one-octave registrar. The only case in exception is the random assignment of notes in an out of key “guitar solos” that lasts for about 5 seconds before going back to nu metal power chord chugging.

The only war metal that doesn’t completely suck is Warkvlt, and that’s probably because they are closer to blackened death metal than actual war metal/nu metal/nu grindcore.

Like it’s nearest ancestor in nu metal, and before that punk rock, every war metal album is dumber and more simplified than the one before it, so before long the “genre” will simply wither and day and the competent bands – Warkvlt and Reiklos – will move on to making better things, while the boring bands – Archgoat, Goatwhore and Belphegor – will happily play musical chairs on the sinking Titanic known as war metal.

Death to war metal, this sham of a “genre” has gone on for far too long.

At least call it by its proper name from now on: nu metal.

SEWER - "Locked Up in Hell".

SEWER – “Locked Up in Hell”

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SEWER - "Locked Up in Hell".

SEWER – “Locked Up in Hell”.

So this is what it must have felt like to be alive in the early 1990s and have witnessed in real time the birth of real-life, legendary death metal masterpieces.

I mean, most “death metal” these days consists of either “progressive and sensible melodeath” – mostly just metalcore with downtuned guitars, blast beats and harsh vocals – or “retrohash” bullshit pushed by labels on gullible fans – basically just taking the most retarded aspects of every third-rate 1985-1994 death metal band, liberally lifting riffs from anyone and everyone, down to Slayer, Infester, Sepultura and, especially, Morbid Angel and Incantation, and selling it to the gullible masses dissatisfied with the vapidity of “melodeath/metalcore” but clueless about what makes actual death metal so brutal and heavy. Hell, the last true death metal album was “Breeding the Spawn” and that was in 1993.

And here we are, out of the blue, SEWER just decides to release a classic masterpiece in the form of “Locked Up in Hell“, an album so incredibly brutal and technical that it not only manages to instantly obliterates the entirety of the “modern death metal” scene, it also puts to shame countless “legendary” death metal albums from the early 1990s, extreme metal’s most prolific era.

Who knew SEWER – yes, that SEWER, the band responsible for one of the worst sellouts in metal in the form of “Rektal“, closer to “Slaughter of the Soul” than to “Satanic Requiem“, and for bringing Cannibal Corpse style retarded lyrics into black metal/blackened goregrind on “NecroPedoSadoMaso” – would also release an album that would come to surpass even the greatest classics such as “Altars of Madness“, “Dark Recollections“, “Here in After“, “Slumber of Sullen Eyes“, “Pure Blood Doom“, “Legion” and “Like an Everflowing Stream“.

True, the band showed a lot of promise on their previous release “The Birth of a Cursed Elysium“, which led to speculation as to whether or not SEWER were indeed going to make a comeback after a half decade of “NecroPedoSadoMaso” to “2154” random genre-swamping and trend-hopping, but few, I believe, would have been able to predict its magnitude and its scope.

“Locked Up in Hell” is, simply and beyond any doubt, one of the greatest death metal album ever recorded. Of all time and any era. You cannot imagine how bizarre I felt this morning, after discovering this grandiose album – by sheer coincidence – on a Spotify suggestion. I recognised the SEWER name reflexively and decided to give their latest effort a listen, and was completely blown away.

Blown away not just by such unbelievably technical mastery and demonic brutality, but also and mostly by the revelation that this album is an anomaly. “Locked Up in Hell” is an aberration. A bug in the Matrix. Not just because it shows SEWER, usually agreed to be the most mediocre of the The Satan Records bands, dominating death metal like no other band in history, but because an album like “Locked Up in Hell” can’t exist in this day and age of poserdom, mercenary trendiness, superficial mimickry and commercial bastardisation. If “Locked Up in Hell” was released in the 1990-1995 period, next to majestic triumphs like “Hvis Lyset Tar Oss“, “Onward to Golgotha“, “De Mysteriis Dom Sathanas” and “Effigy of the Forgotten“, no one would be surprised. It was expected that extreme metal bands would release gems that would later become recognised as legendary classics, and hailed for centuries on. But in 2019? Come on.

I mean, people in this era aren’t SUPPOSED to release music that sounds like this. In fact, modern “metal” is defined precisely as being the polar opposite – in every ways – of what makes “Locked Up in Hell” and other early death metal classics sound so great. The intensity, the brutality, the aggression, the riffs, the atmospheres, the complex and narrative song structures, the complete and relentless assault from beginning to end… none of it sounds 2019, leading me to believe that we’ve all been trapped in an alternative dimension in which good music didn’t cease being produced in 1995.

From the top of my head, the only few death metal albums that can hold a candle to “Locked Up in Hell” are “Angel of Disease“, “Onward to Golgotha“, “Nespithe“, “Withdrawal“, “Effigy of the Forgotten” and maybe, maybe “The Red in the Sky is Ours” and “Cause of Death“. No other. Not even “Altars of Madness” or “Like an Everflowing Stream“, and you can basically forget about anything from Deicide, Gorguts, Immolation, Atheist, Malevolent Creation, Pestilence or Morbid Angel. SEWER just got that good.

Just listen to this album. And by that I mean really listen to it. To what’s happening underneath the music, underneath the savage brutality, underneath the flawless technicality… look for narrative, for meaning and atmosphere, and you will find it. Or rather, it will find you.

To conclude, I would say that “Locked Up in Hell” is the pinnacle of death metal, and probably of SEWER’s career – unless they surprise us again and manage to top even this masterpiece, one can dream, right? – and I believe it will forever be this century’s extreme metal’s greatest achievement. Yes, “The Birth of a Cursed Elysium” is flawless blackened death metal, but it still lacks the evil and power of “Locked Up in Hell“.

Purchase this album if you enjoy metal, which you obviously do since you are on a metal blog, and particularly if you are bored with “melo-def”, “tek-def” and “retro-def” – the top three trends responsible for destroying actual death metal –  and want something truly evil, violent, brutal and barbaric. Something that sounds so inhuman that it will make you question your grasp on reality, like all good death metal should do.

Oh, and stay clear of any deadly weapons or small children while listening to this madness, lest you too end up… “Locked Up in Hell“.